"Meanwhile the multiplication of rubbish only enhances the value of gold; and a Fiddle worthy of an applauding verdict from old Borax is more difficult of acquisition than ever. So I shall keep my Cremona."
THE PRINCE AND THE FUGAL VORTEX.
A Royal amateur and British Admiral, a lover of the Violin and patron of music, happened whilst at Malta to be leading Mozart's charming Quartet in G major—
The opening movement, together with the Minuet, Trio, and Andante having been rendered with pleasure and satisfaction, the Finale was entered upon with due determination.
Its fugal subject—
was well under way, and speedily in full sail. Ere long an evident indecision of purpose manifested itself, the motive or subject failing to elicit other than dubious answers to its calls; it was emphasised with loudness, not without signs of impatience, but to no purpose; all became hopelessly involved and incoherent, until at length, like the ice described by the "Ancient Mariner"—
|
"The fugue was here, the fugue was there, The fugue was all around; It cracked and growled and roared and howled Like noises in a swound." |
The second Violin, overcome by the surging counterpoint, ceased playing, and with the adroitness of a Raleigh turned to the Prince and said, "Pardon me, your Royal Highness, I fear we have been carried away by the vortex of the melody." The execution of chamber compositions belonging to the higher walks of counterpoint is frequently disappointing, but seldom or never is the failure so gracefully and agreeably accounted for.